by Jarrett Hoffman

But describing what that actually sounds like is more difficult. During a telephone conversation last week, Suarez brought up a helpful comparison: the Bauhaus paintings of Kandinsky. Clouds of color make up the background, “but on top there’s this highly complex construction of very defined shapes and lines,” Suarez said. “Even though that wasn’t exactly my inspiration, I was reading about his work at about the same time, and it all kind of made sense to me.”
Suarez will bring that musical language to CODA on Saturday, June 8 during a 9:00 pm concert as part of the Re:Sound Festival. Joining Suarez on the double-bill will be a fellow Philadelphian: madam data (Ada Adhiyatma), whose main tools of music-making are alto clarinet, handmade computer programs, field recordings, and old samplers. madam data’s set includes their Biological Time 1, described as “a structured improvisation that engages with the body’s sense of ‘waiting’ by framing durations of silence.”




In summing up last year’s inaugural Re:Sound Festival of New and Experimental Music,
Many of the sounds heard at the Re:Sound New Music Festival performances at the Bop Stop and CODA on Saturday, June 9 were reminiscent of noises made by ‘90s computers and played on old science fiction space TV shows. Relying heavily on electronics and other sound-manipulation techniques, each artist or group gave festivalgoers a taste of their music in a series of increasingly strange and interesting pieces.
A year and a half ago, saxophonist Noa Even and cellist Sophie Benn got together to discuss ways to promote new music in Cleveland. They soon brought drummer Stephen Klunk and Bop Stop manager Gabe Pollack into the conversation, and the idea of starting a new music festival in the city was born. Beginning on June 7 and running through June 10, the inaugural